This article argues that Dirty Harry (Siegel, 1971) is first and foremost a San Francisco film, a perspective that has been ignored by current literature. The article merges a close reading of the film’s narrative, iconography, and semiotics with an analysis of the film’s representation and refraction of San Francisco’s history, politics, culture, and popular image.
- Response inhibition to emotional faces in childhood obsessive-compulsive disorder
- Traumatic Life Events in Individuals with Hoarding Symptoms, Obsessive-Compulsive Symptoms, and Comorbid Obsessive-Compulsive and Hoarding Symptoms
- Vitamin D deficiency as a cause of chronic pain in the palliative medicine clinic: Two case reports
- Aspects of ‘physiognomic depiction’ in pictures: From macchia to microgenesis
- Preterm birth and maternal psychological health
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